Words by Jonathan Stout
When not doing freelance writing, Jonathan Stout is heavily involved in the NKY and Cincinnati music scenes as the Marketing Manager for Kentucky based venue The Southgate House Revival and founder of DIY Recording label Lo Fi City Recordings. He’s also an active musician, performing and recording with Sleepy Drums, Mutt Fuzz, Burnt Cabins and Uncle Fungus.
August saw the release of new music from three of the biggest leading names in indie psych rock – The Osees, King Gizzard and the Lizard Wizard, and Pond. Before I get into brief dissections of these albums, I can make the blanket statement that all three releases are quite fun!
The Osees shocked fans when they announced that their newest album, SORCS 80 (Castle Face Records), would have no guitar or keys, and would instead be performed on samplers with a brass section! However, it turns out there’s no reason for fans to be concerned, as this songwriting exercise ultimately created a group of songs that still hold true to the time tested Osees style – they’re just warped through a slightly different lens. If anything, much of this album’s sound harkens back to the raw, caveman punk style of 2022’s A Foul Form more than the new wave inspired Intercepted Message (2023), and no track signifies this more than album opener “Look At The Sky” which effectively opens up the pit from the get go. Even though this release sees the band trying new approaches to their songwriting process, the end result is an Osees album that fits in appropriately with the rest of the band’s repertoire, and I don’t think anyone is complaining about that.
Speaking of modern bands trying new things, there’s no better example than the mighty King Gizzard and the Lizard Wizard, who are known to release multiple eclectic albums a year. It can be hard for a casual fan to keep up with the band as they travel from one muse to the next (from electronic, to metal, jazz and more), but if you’ve checked out from this band, their newest release, Flightb741 (P(doom) Records), is prime time to return to their fold. I was starting to wonder what genre the band could pivot to next as it seemed like they’d exhausted nearly everything (not sure they could successfully make a hip-hop album). Their newest unexpected sidestep to the realm of classic 70’s blues rock proves to be a successful decision, as this album manages to maintain an inspired, full throttled energy throughout. These compositions are still adventurous, but hit more automatically than their songs have in a long time. To put it simply, this is one of their funnest and most easily accessible albums. There’s a lot to appreciate for fans of classic rock on here, with constant musical nods to The Rolling Stones (“Flight b741”), AC/DC (“Field of Vision”), Canned Heat (“Raw Feel”, “Hog Calling Contest”) and Allman Brothers (“Daily Blues”) throughout. What’s more is that it really feels like the band themselves are having a lot of fun and there’s a strong sense of humor abound in much of the lyrics, celebrating a classic rock party trope throughout. There’s also a real development in the vocal performances on Flightb741. One of the band’s previous shortcomings was an abundance of nearly monotone vocal deliveries that paralleled the lead guitar melodies. It’s cool for a couple songs but can really get old for an entire release. Flightb741 breaks free of that, with each singer really stretching out to wider, soulful ranges.
While we’re on the subject of stretching out, let’s talk about the newest album by fellow Aussie psych rockers, Pond who’s new album, Stung! (Spinning Top) successfully celebrates the uninhibited, anything goes mentality of modern alternative rock albums. This is the sound of a band very comfortable with their abilities, with the confidence to constantly experiment with the songwriting cycle of a record. Taking full advantage of modern recording and mixing, the production on this album definitely serves as an invisible extra member, as every single sound and guitar tone here is expertly dialed in and nuanced to make all compositions sound cohesive, even as they jump from sub-genre to sub-genre without pause. From the brilliant quiet/loud/quiet formula of “Neon River,” which echos the energy of mid-career Flaming Lips, to the spacey stoner rock of “Black Lung,” and the neurotic, Talking Heads style funk of “So Lo,” this band takes the listener on a freewheeling journey that makes Stung! a thrilling listen from beginning to end.
Not to be left out of the conversation of new releases from the leading psych elite, Ty Segall also returned with his second release of 2024, Love Rudiments (Drag City). This release hones in on the growing free jazz, cinematic, experimental side of Segall’s muse as previously explored on his Whirlybird motion picture soundtrack of 2022. Anyone looking for Segall’s patented loud and heavy fuzz would be better directed to his fantastic release from earlier this year, Three Bells. Instead, the major focuses on Love Rudiments are drums and percussion. For anyone tracking Segall’s history as a drummer, as he’s honed his skills on solo and Fuzz albums, will take great enjoyment to hear how greatly his abilities have progressed. Beyond the drum kit, Segall also experiments with the timpani, vibraphone, xylophone, e-drums and more to create a free jazz experience which truly opens up the boundaries for future releases from this prolific artist.
Los Bitchos made their highly anticipated return in August with the gloriously celebratory Talkie Talkie (City Slang). It’s a shame it wasn’t released earlier this year, because I’m sure it would’ve served as a major soundtrack to my summer if it had. This collection picks up where Let the Festivities Begin left off, but ups the ante significantly with higher production and an 80’s dance floor sheen. The album’s title track shimmers with chorus laden octave chords and a funky groove that would fit perfectly in a vintage episode of Miami Vice, while “Don’t Change” victoriously opens up the dance floor and tracks like “Let Me Cook You” and “La Bomba” thump hard with driving pseudo disco force. No matter what nuance they explore on Talkie Talkie, the resounding triumph here is the band members’ chemistry and air tight performances. Their previous albums proved they could stir up a good time, but Talkie Talkie struts with an infectious and unprecedented confidence.